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Show THE COMPOSITION OF BALLETS. 191 mime, explained by good music, is capable of moving the heart deeply. Costume, properties, machinery, and decorations are particularly requisite in embellishing the Grand Ballet23. This theatrical display is indispensable also in pieces of the fabulous or heroic kind. If the study of painting be considered necessary to a full knowledge of the art of dancing, the assistance of that art is required in adorning the entire action. When, however, these embellishments do not arise out of the subject, and so become necessary to it, they lose their charm, and become useless and heavy. " It appears to me," says Dauberval, " that the most essential parts of the Ballet are dancing, Pantomime, music, painting; and all other embellishments, should b e - " Per bellezza di parti aggiunte insieme, E con giusta misura in uncomposte." TASSO. It is a systematic and harmonious union of these by which the senses are delighted, nay, even ravished. Though embellishment should be properly introduced, still it is not upon that alone success depends. The heart must be first interested, and the study of ornaments may follow as secondary; and it belongs to taste and judgment appropriately to arrange them, placing them only where they seem to be required. Pantomimic action must claim our principal care throughout the piece, to which scenery and embellishment are certainly necessary, but subservient. W h e n an indifferent composer is determined to obtain success, he finds himself obliged to display to the public tinsel finery, dazzling colours, properties of every description, dresses bedecked with gold and silver, a multitude of mechanic tricks, and a crowd of characters. H e expects by all this theatrical noise and parade to excite interest, but he is deceived. His production pleases for a |